1 00:00:00,200 --> 00:00:03,360 Speaker 1: It is a Tuesday morning. It's a great Tuesday. Tuesday 2 00:00:03,440 --> 00:00:05,520 Speaker 1: is always the toughest day, right tuesdays to day we 3 00:00:05,559 --> 00:00:07,760 Speaker 1: say we got to push a little harder. You know, 4 00:00:08,080 --> 00:00:10,920 Speaker 1: all hands need to be on deck. But not today 5 00:00:10,960 --> 00:00:12,920 Speaker 1: because Doua Leap has come in to put her hands 6 00:00:12,920 --> 00:00:17,320 Speaker 1: on the deck with us. Yeah, he's welcome. I noticed 7 00:00:17,360 --> 00:00:21,000 Speaker 1: something very different about you. It's your hair. Yeah, it 8 00:00:21,079 --> 00:00:21,919 Speaker 1: might be my hair. 9 00:00:22,320 --> 00:00:26,200 Speaker 2: Yeah, I think last time I was in the studio here, 10 00:00:26,480 --> 00:00:28,040 Speaker 2: I had a blonde hair. 11 00:00:28,520 --> 00:00:31,639 Speaker 1: Yeah, okay, so it's definitely your hair. I'm proud of 12 00:00:31,640 --> 00:00:36,479 Speaker 1: myself recognizing good joke. Good joke is there's symbolism in 13 00:00:36,840 --> 00:00:39,320 Speaker 1: and it looks great. It looks great. Is the symbolism 14 00:00:39,479 --> 00:00:41,960 Speaker 1: in that red symbolism? 15 00:00:42,040 --> 00:00:43,600 Speaker 2: I don't know when I was when I was making 16 00:00:43,640 --> 00:00:47,080 Speaker 2: my new record, I just felt like I really resonated 17 00:00:47,680 --> 00:00:50,000 Speaker 2: with the color red, and I felt like that was 18 00:00:50,280 --> 00:00:51,959 Speaker 2: that's that was just my new vibe. Now. 19 00:00:52,200 --> 00:00:53,920 Speaker 1: But when you walked in, there was a false set 20 00:00:53,960 --> 00:00:57,280 Speaker 1: of screams from Tanya and Sis. Now we've been excited. 21 00:00:57,280 --> 00:00:58,680 Speaker 1: We've been waiting for your arrival. 22 00:00:58,880 --> 00:01:01,520 Speaker 3: I've been listening to this new song on repeat since 23 00:01:01,520 --> 00:01:05,759 Speaker 3: it came out on repeat, Yeah, it's I can't handle it. 24 00:01:06,000 --> 00:01:07,160 Speaker 2: I'm so happy you like it. 25 00:01:07,520 --> 00:01:09,959 Speaker 1: We're gonna play it and we're gonna we're gonna get 26 00:01:10,000 --> 00:01:11,600 Speaker 1: into the psyche of it in a second. But first, 27 00:01:11,640 --> 00:01:13,120 Speaker 1: congratulations on the Grammys. 28 00:01:13,520 --> 00:01:14,960 Speaker 2: Thank you so much. 29 00:01:15,000 --> 00:01:15,920 Speaker 1: Grammy nominations. 30 00:01:17,319 --> 00:01:20,760 Speaker 2: Massive deal, massive deal. I'm super, super super happy. 31 00:01:21,040 --> 00:01:24,960 Speaker 1: What was the coolest or most interesting text congratulations text 32 00:01:25,080 --> 00:01:27,600 Speaker 1: you got once people found out that you were two 33 00:01:27,640 --> 00:01:28,720 Speaker 1: time Grammy nominee. 34 00:01:28,880 --> 00:01:31,959 Speaker 2: What was the most interesting one? I don't know. I 35 00:01:32,000 --> 00:01:35,200 Speaker 2: mean just the excitement that I think me and Mark 36 00:01:35,240 --> 00:01:38,080 Speaker 2: Cronson and Andrew Wyatt and Caroline felt together. We have 37 00:01:38,200 --> 00:01:40,959 Speaker 2: this group chat and so it was just like, oh 38 00:01:41,000 --> 00:01:43,840 Speaker 2: my god, guys, like this is so exciting. Can't believe 39 00:01:43,880 --> 00:01:47,319 Speaker 2: we got two Grammy norms. And Mark and Andrew got 40 00:01:47,319 --> 00:01:49,800 Speaker 2: one for the score as well. And I mean the 41 00:01:50,200 --> 00:01:54,080 Speaker 2: they they did really well this Grammy season. So it's 42 00:01:54,080 --> 00:01:57,480 Speaker 2: gonna be exciting. I'm super proud of everyone involved. 43 00:01:57,800 --> 00:02:00,040 Speaker 1: Some people say that they don't you know, find I 44 00:02:00,040 --> 00:02:02,120 Speaker 1: don't really care if they get nominate it. I don't 45 00:02:02,160 --> 00:02:04,240 Speaker 1: know I would care, Like I'd be excited to be 46 00:02:04,280 --> 00:02:05,160 Speaker 1: nominated for a Crammy. 47 00:02:05,320 --> 00:02:08,880 Speaker 2: Definitely, you, I mean, it's it's like I think, you know, 48 00:02:09,000 --> 00:02:11,560 Speaker 2: some people maybe say, like, oh, it's it's not how 49 00:02:11,600 --> 00:02:14,399 Speaker 2: you measure success, which I definitely don't think it's how 50 00:02:14,480 --> 00:02:18,240 Speaker 2: you measure success. But it's so amazing to be recognized 51 00:02:18,280 --> 00:02:21,520 Speaker 2: by your peers by you know, to have this like 52 00:02:22,560 --> 00:02:25,480 Speaker 2: I don't know, I guess nomination or accolade aside you 53 00:02:25,560 --> 00:02:28,280 Speaker 2: that you go, oh, like I did something that's really 54 00:02:28,280 --> 00:02:30,680 Speaker 2: special and lots of people liked it, and and you know, 55 00:02:30,720 --> 00:02:33,120 Speaker 2: it feels good of course, like you have that feeling. 56 00:02:33,120 --> 00:02:35,440 Speaker 2: I mean, I definitely I feel very, very proud. 57 00:02:35,280 --> 00:02:37,440 Speaker 1: And to be involved in the movie of the year. 58 00:02:37,720 --> 00:02:41,040 Speaker 2: Yes, absolutely absolutely. 59 00:02:40,760 --> 00:02:43,400 Speaker 1: Was Barbie your acting debut like a fish like a 60 00:02:43,440 --> 00:02:44,400 Speaker 1: movie acting debut. 61 00:02:44,720 --> 00:02:47,840 Speaker 2: It's it's it's the first thing that was like, I mean, 62 00:02:48,040 --> 00:02:48,800 Speaker 2: acting debut. 63 00:02:48,840 --> 00:02:50,200 Speaker 1: I did it. I did a little. 64 00:02:50,000 --> 00:02:56,240 Speaker 2: Cameo feat, you know, but I will take it, you know, 65 00:02:56,360 --> 00:02:58,079 Speaker 2: the fact that I got to be in a Mermaid 66 00:02:58,160 --> 00:03:01,400 Speaker 2: fish tail, I I'm gonna lap it up for as 67 00:03:01,400 --> 00:03:02,160 Speaker 2: long as possible. 68 00:03:02,240 --> 00:03:05,040 Speaker 1: I loved it. Did you choose which Barbie you were? 69 00:03:05,600 --> 00:03:08,920 Speaker 2: Well, I got asked to be Mermaid Barbie by Greta, 70 00:03:09,040 --> 00:03:11,040 Speaker 2: but I got to I got asked to be the 71 00:03:11,200 --> 00:03:14,960 Speaker 2: mermaid barbies plural, So I got to wear like four 72 00:03:15,000 --> 00:03:17,560 Speaker 2: different fish tails. It was like the purple one, the 73 00:03:17,600 --> 00:03:19,800 Speaker 2: orange on, the pink one, the blue one. I was like, 74 00:03:19,880 --> 00:03:21,760 Speaker 2: it was really I was having a moment and I 75 00:03:21,800 --> 00:03:24,239 Speaker 2: was getting carried around everywhere because I couldn't move in 76 00:03:24,320 --> 00:03:27,840 Speaker 2: a fishtail. I was completely like, so I quite enjoyed 77 00:03:29,120 --> 00:03:30,040 Speaker 2: just being carried around. 78 00:03:30,560 --> 00:03:32,160 Speaker 1: I was having a real I was having a real 79 00:03:32,200 --> 00:03:35,760 Speaker 1: see the moment. It seems like fun. So explain to 80 00:03:35,840 --> 00:03:37,720 Speaker 1: use how you wrote Dance to Night. Did you see 81 00:03:38,040 --> 00:03:40,320 Speaker 1: the scene that it was going to be featured in 82 00:03:40,360 --> 00:03:41,880 Speaker 1: and then write to the scene and how how did 83 00:03:41,920 --> 00:03:43,240 Speaker 1: you do it? And how's it different from your normal 84 00:03:43,360 --> 00:03:44,120 Speaker 1: writing process? 85 00:03:44,200 --> 00:03:47,440 Speaker 2: It was completely different from my from my normal writing 86 00:03:47,480 --> 00:03:52,520 Speaker 2: process entirely. I initially, well, Mark had asked me if 87 00:03:52,600 --> 00:03:54,840 Speaker 2: I was interested in Mark Ronson yet, if I was 88 00:03:54,880 --> 00:03:58,080 Speaker 2: interesting in working with him on this track, And all 89 00:03:58,120 --> 00:04:01,320 Speaker 2: I saw was a dancer house or video of the 90 00:04:01,320 --> 00:04:05,560 Speaker 2: whole cast in a dance studio like rehearsing to what 91 00:04:05,760 --> 00:04:11,280 Speaker 2: was just the score essentially the strings string part. And 92 00:04:11,320 --> 00:04:14,560 Speaker 2: I was like, oh, one thousand percent, I'm all over 93 00:04:14,600 --> 00:04:17,279 Speaker 2: this definitely. I really I would love, love, love to 94 00:04:17,320 --> 00:04:21,120 Speaker 2: do it, and I was more just kind of thinking 95 00:04:21,160 --> 00:04:24,000 Speaker 2: about when was the deadline, When did we need to 96 00:04:24,440 --> 00:04:26,360 Speaker 2: send it in, And it was just before they had 97 00:04:26,400 --> 00:04:30,960 Speaker 2: started filming for Barbie. And I guess that the whole 98 00:04:31,000 --> 00:04:33,440 Speaker 2: task of it was how do you write a song 99 00:04:33,480 --> 00:04:35,400 Speaker 2: that's going to help tell the story as well? Because 100 00:04:35,440 --> 00:04:38,520 Speaker 2: it was happening, like the song happens on Barbie's best 101 00:04:38,600 --> 00:04:41,160 Speaker 2: day ever, and it's just as Barbie's starting to have 102 00:04:41,240 --> 00:04:45,520 Speaker 2: these thoughts of death right, and I needed to write 103 00:04:45,560 --> 00:04:48,800 Speaker 2: a song that had all the excitement of the best 104 00:04:48,880 --> 00:04:51,279 Speaker 2: day ever, and it had all the disco elements and 105 00:04:51,320 --> 00:04:58,520 Speaker 2: the glittery pop disco stuff with then underlying lyrics of 106 00:04:59,320 --> 00:05:00,840 Speaker 2: what am I going to do if everything kind of 107 00:05:00,880 --> 00:05:04,000 Speaker 2: goes wrong? You know, how am I gonna stay positive 108 00:05:04,080 --> 00:05:06,760 Speaker 2: or optimistic in the face of things maybe not working 109 00:05:06,760 --> 00:05:08,120 Speaker 2: out the way that I want them to. So that 110 00:05:08,240 --> 00:05:09,920 Speaker 2: was kind of the premise of it, and that was 111 00:05:09,960 --> 00:05:12,839 Speaker 2: also the kickoff for the rest of the film as well, 112 00:05:12,839 --> 00:05:17,400 Speaker 2: that kind of juxtaposition on throughout the whole film. So 113 00:05:17,440 --> 00:05:19,280 Speaker 2: it was like, all right, regrets, I, We're going to 114 00:05:19,320 --> 00:05:25,960 Speaker 2: make the dance crying song for that part. And that's 115 00:05:25,960 --> 00:05:28,719 Speaker 2: how it was. It was just like, really amazing because 116 00:05:28,720 --> 00:05:30,200 Speaker 2: when I go in the studio and work on my 117 00:05:30,200 --> 00:05:33,240 Speaker 2: own music, I write very much from just my own 118 00:05:33,240 --> 00:05:38,200 Speaker 2: personal experiences, and this one was really diving into Barbie's 119 00:05:38,440 --> 00:05:42,040 Speaker 2: world and her character and what her story was and 120 00:05:42,360 --> 00:05:45,040 Speaker 2: what she was going through, which was really really fun 121 00:05:45,080 --> 00:05:47,080 Speaker 2: to kind of go in and I, you know, have 122 00:05:47,120 --> 00:05:49,280 Speaker 2: a task and have an assignment. I was like, this 123 00:05:49,360 --> 00:05:54,479 Speaker 2: is something I really like and I enjoyed deadline iline 124 00:05:54,920 --> 00:05:58,800 Speaker 2: there was kind of it was not really not really 125 00:05:58,800 --> 00:06:02,960 Speaker 2: a deadline because the film was already filmed then with 126 00:06:03,120 --> 00:06:05,360 Speaker 2: the instrumental, so we had a little bit more time 127 00:06:05,400 --> 00:06:07,600 Speaker 2: to get all the lyrics. But the best thing about 128 00:06:07,640 --> 00:06:11,040 Speaker 2: that was that we had originally written the song and 129 00:06:11,080 --> 00:06:13,040 Speaker 2: then we went back in the studio again and we 130 00:06:13,120 --> 00:06:17,080 Speaker 2: watched the song with the with the dance scene, and 131 00:06:17,080 --> 00:06:18,680 Speaker 2: then I was like, oh wait a second, Like I 132 00:06:18,680 --> 00:06:20,400 Speaker 2: think we need to just go back in and like 133 00:06:20,760 --> 00:06:25,240 Speaker 2: do some rewriting. And there's like little moments where Barbie 134 00:06:25,320 --> 00:06:28,120 Speaker 2: or Margo goes like she does a dance move like 135 00:06:28,120 --> 00:06:30,560 Speaker 2: this right, and I'm like, oh, well, we have to 136 00:06:30,560 --> 00:06:32,719 Speaker 2: put in like come along for the ride there and 137 00:06:32,880 --> 00:06:36,040 Speaker 2: just like start tailoring. Oh sorry, I'm waving my hands. Yeah, 138 00:06:36,040 --> 00:06:39,960 Speaker 2: I forget that I'm on the radio, and it was like, okay, 139 00:06:40,000 --> 00:06:42,760 Speaker 2: let's tailor little things to the dance moves to like 140 00:06:42,839 --> 00:06:47,400 Speaker 2: really feel like we're scoring right the film. That's how 141 00:06:47,760 --> 00:06:50,120 Speaker 2: the lyrics were written. So it was just a completely 142 00:06:50,120 --> 00:06:52,280 Speaker 2: different experience. I absolutely loved it. 143 00:06:52,680 --> 00:06:54,839 Speaker 1: There's so many great layers to that song too. You know, 144 00:06:54,880 --> 00:06:57,520 Speaker 1: you can almost picture it being played obviously here on 145 00:06:57,560 --> 00:06:59,200 Speaker 1: the radio, but I can also see it in like 146 00:06:59,240 --> 00:07:03,320 Speaker 1: a two story gold club in Europe along the coast, 147 00:07:03,400 --> 00:07:05,800 Speaker 1: you know, after two am, and that's the kind of 148 00:07:05,800 --> 00:07:08,400 Speaker 1: song that comes on. That's the idea, that's the idea. 149 00:07:08,480 --> 00:07:09,240 Speaker 1: It's like that. 150 00:07:09,320 --> 00:07:13,160 Speaker 2: Really late night things are getting a little messy. Then 151 00:07:13,200 --> 00:07:15,400 Speaker 2: this song comes on and you're like, oh my god. 152 00:07:16,040 --> 00:07:21,400 Speaker 1: My second Yeah exactly. So you were saying that, chronologically speaking, 153 00:07:21,480 --> 00:07:23,240 Speaker 1: this is sort of the first in a series of 154 00:07:23,240 --> 00:07:25,640 Speaker 1: different stories, but it represents this is what I want 155 00:07:25,640 --> 00:07:28,080 Speaker 1: to hone in on for a second, but it represents 156 00:07:28,160 --> 00:07:31,440 Speaker 1: sort of the best phases or stages of single them. 157 00:07:31,520 --> 00:07:32,520 Speaker 1: Yeah right. 158 00:07:32,840 --> 00:07:35,560 Speaker 2: I think it's just more like the different feelings and 159 00:07:35,600 --> 00:07:40,000 Speaker 2: emotions that you have throughout the period of like single them. 160 00:07:40,200 --> 00:07:44,520 Speaker 2: You know, it's I think also understanding. You kind of 161 00:07:44,520 --> 00:07:46,680 Speaker 2: get to a point where you're like understanding what you 162 00:07:46,720 --> 00:07:49,320 Speaker 2: want and what you need and what you deserve. And 163 00:07:49,360 --> 00:07:51,880 Speaker 2: then it's kind of just a play on words obviously, 164 00:07:51,920 --> 00:07:54,640 Speaker 2: like using Houdini like verb like this is great where 165 00:07:54,680 --> 00:07:56,960 Speaker 2: I'm gonna Podini out of here, you. 166 00:07:56,880 --> 00:08:00,640 Speaker 1: Know, yeah, yeah, and we all use it. It's those terms 167 00:08:00,680 --> 00:08:02,880 Speaker 1: that we have for sure. By the way, they said, 168 00:08:02,880 --> 00:08:09,200 Speaker 1: I remember what was the Christmas party. 169 00:08:06,760 --> 00:08:11,720 Speaker 3: Yeah, he's gonna go, I'm gonna go request the song. 170 00:08:11,760 --> 00:08:13,000 Speaker 3: We all want to hear the song. I'm gonna go 171 00:08:13,040 --> 00:08:14,840 Speaker 3: request it. So he'll go, like request it and then 172 00:08:14,840 --> 00:08:15,640 Speaker 3: he'll Houdini. 173 00:08:18,680 --> 00:08:21,360 Speaker 1: I let them have some fun. But but it's but 174 00:08:21,480 --> 00:08:23,400 Speaker 1: single them, you know, the good stages. Then that has 175 00:08:23,440 --> 00:08:25,480 Speaker 1: an expiration date or it has a change into a 176 00:08:25,560 --> 00:08:28,560 Speaker 1: next chapter or stories that sort of when you speak chronologically, 177 00:08:28,800 --> 00:08:30,280 Speaker 1: what should we be thinking about? 178 00:08:30,360 --> 00:08:34,920 Speaker 2: Well, I guess just like it kind of goes into 179 00:08:35,000 --> 00:08:39,800 Speaker 2: the phases of from figuring out single them into potentially 180 00:08:39,800 --> 00:08:43,640 Speaker 2: a new relationship and when. 181 00:08:43,520 --> 00:08:45,560 Speaker 1: You can when you think about it, so then all right, 182 00:08:45,640 --> 00:08:48,280 Speaker 1: so it's single them, new relationship and then is there 183 00:08:48,320 --> 00:08:49,600 Speaker 1: another single them? 184 00:08:49,640 --> 00:08:54,360 Speaker 2: Then it's kind of like, you know, just kind of 185 00:08:54,360 --> 00:08:57,600 Speaker 2: seeing if somebody can kind of keep up, keep up 186 00:08:57,880 --> 00:09:01,160 Speaker 2: in a way I guess early days, early days. And 187 00:09:01,200 --> 00:09:04,960 Speaker 2: then it starts getting a little bit more. You know, 188 00:09:04,960 --> 00:09:08,400 Speaker 2: you're kind of starting to see through the God this 189 00:09:08,520 --> 00:09:13,520 Speaker 2: is like way hard what am. 190 00:09:13,440 --> 00:09:14,439 Speaker 1: I talking about here? 191 00:09:15,320 --> 00:09:17,960 Speaker 2: And then you're you're kind of like seeing the truth 192 00:09:18,000 --> 00:09:21,800 Speaker 2: behind someone, whether they're real or not, who they are, 193 00:09:21,840 --> 00:09:24,080 Speaker 2: what they represent kind of thing. And then you go 194 00:09:24,160 --> 00:09:27,160 Speaker 2: into the phases of this is amazing and this is 195 00:09:27,200 --> 00:09:28,200 Speaker 2: everything that I wanted. 196 00:09:28,760 --> 00:09:33,520 Speaker 1: And then that's when I get worried. That's that's when 197 00:09:33,559 --> 00:09:36,400 Speaker 1: I get scared. No, it's going so great. That's when 198 00:09:36,400 --> 00:09:38,199 Speaker 1: I worry the most. But it's going so well. 199 00:09:38,240 --> 00:09:39,840 Speaker 2: You're like, all right, when's it going to go wrong? 200 00:09:39,920 --> 00:09:42,000 Speaker 1: When's it going to go wrong? It's all going so well, 201 00:09:42,200 --> 00:09:44,520 Speaker 1: something's gonna what's going to go wrong? But that's you know, 202 00:09:44,600 --> 00:09:45,199 Speaker 1: my own issue. 203 00:09:45,440 --> 00:09:47,240 Speaker 3: So wait, can I see you a question? 204 00:09:47,480 --> 00:09:52,600 Speaker 1: Yeah, of course, when you purge your entire she said, no, no. 205 00:09:53,240 --> 00:09:55,439 Speaker 3: When you before the song came out and you purge 206 00:09:55,480 --> 00:09:57,480 Speaker 3: your entire Instagram? Did it feel liberating? 207 00:09:57,559 --> 00:10:00,880 Speaker 2: Oh? It was the best feeling ever. Oh it was 208 00:10:00,920 --> 00:10:01,240 Speaker 2: the best. 209 00:10:01,559 --> 00:10:03,800 Speaker 1: Did you did you archive or did you just delete? Archive. 210 00:10:03,880 --> 00:10:08,160 Speaker 2: Okay, yeah, but they're not coming back. They're not coming 211 00:10:08,160 --> 00:10:09,640 Speaker 2: back the more just for me if I want to. 212 00:10:09,559 --> 00:10:11,280 Speaker 1: Take a trip down memory lane or something. 213 00:10:12,120 --> 00:10:14,520 Speaker 2: But really, I don't know. It just feels so nice 214 00:10:14,559 --> 00:10:17,440 Speaker 2: to just have a fresh start and start something you know, 215 00:10:17,559 --> 00:10:20,600 Speaker 2: new and it's motivating. And it's also nice to take 216 00:10:20,600 --> 00:10:23,240 Speaker 2: a little break from social media because I think when 217 00:10:23,240 --> 00:10:26,520 Speaker 2: I'm not posting that I'm not really looking. Also, it's 218 00:10:26,600 --> 00:10:29,880 Speaker 2: kind of interesting because then I just stay on. I 219 00:10:29,920 --> 00:10:32,960 Speaker 2: don't know, but yeah, it was nice to be off 220 00:10:33,000 --> 00:10:33,559 Speaker 2: for a little bit. 221 00:10:33,760 --> 00:10:37,400 Speaker 1: Let's purge. It would take me like a year. 222 00:10:39,760 --> 00:10:42,360 Speaker 2: Well now on Instagram, they've got this setting where you 223 00:10:42,360 --> 00:10:45,760 Speaker 2: can do multiple stuff. Everyone in the background. 224 00:10:46,679 --> 00:10:50,200 Speaker 1: Ready to do a tech class after this, Julie, But 225 00:10:50,240 --> 00:10:51,880 Speaker 1: thank you so much for coming in. It's always great 226 00:10:51,880 --> 00:10:57,000 Speaker 1: to say thank you. We'll see the Grammy